75-506: The AWGIE Awards are annual awards given by the Australian Writers' Guild (AWG), for excellence in screen, television, stage, and radio writing. The 56th Annual AWGIE Awards ceremony is being held in Sydney on 15 February 2024. The AWGIE awards were conceived in 1967, with the first event being held in 1968. Bettina Gorton the wife of prime minister John Gorton was guest of honour at
150-407: A Lifetime membership of which 28 members currently hold. This is obtained over years of industry successes both in production and accolades. Pathways is an AWG program developed by members for its members that showcases exemplar scripts in order to gain exposure to industry professionals in their respective fields. This gateway program enables members to have their works published and produced within
225-466: A bequest left by him. Intended to encourage and reward creativity in science-fiction writing for feature film , television, web series, and interactive media, the award is worth $ 10,000 for the best produced script, as well as professional support for the best unproduced script. They were awarded from 2008, and in the past have been awarded as (or considered) part of the AWGIE awards, but they are advertised as
300-634: A mandate to promote the creation and distribution of films in Australia as well as to preserve the country's film history. It also had a production arm responsible for production and commissioning of films for the government. It was superseded by Screen Australia from 1 July 2008. The Australian Film Commission was established by the Whitlam government on 7 July 1975 as the successor to the Australian Film Development Corporation set up by
375-452: A published or produced performance piece to their name. In order to qualify, the piece must be over 50 minutes long except a Television episode can be up to 45 minutes in length. The benefits of this membership include access to model contracts, recommended rates in the industries, industrial advice, networking opportunities, entry to AWG competitions, access to professional development seminars, Opportunities to Pathways and discounted prices on
450-402: A separate award, and winners announced separately. Winners have included: The Monte Miller Awards, open to AWG members, recognise excellence in screenwriting and playwriting. The inaugural award was given to Peter Scott for Rally Round in 1972. It was not awarded between 1976 and 1979. Until 2007 there was just one Monte Miller Award, but from 2008 there have been two separate awards. In
525-500: A standard contract that saw for writers enforced rights and fair pay. Interim Industrial Officer Roger Simpson was responsible for overseeing this aspect of the Guilds work. David Wilson overtakes Peters as the president of the guild. 1980 saw the strike against Channel 9's pay towards its writers to be one of the Guilds longest and most successful campaigns. This resulted in the network paying its workers A$ 250 per hour of script as opposed to
600-622: A wide range of categories, such as feature film, television drama, and various theatre awards, as well as a number of special named awards, such as the David Williamson Prize for Excellence in Writing for Australian Theatre , Dorothy Crawford Award, Hector Crawford Award, and David Parsons Award. The John Hinde Award for Excellence in Science-Fiction Writing is named in honour of film critic John Hinde (1911–2006), and funded by
675-657: Is an essential aspect of the Guild as they dictate the leadership, action and fund distribution of the association. Shane Brennan, an Australian writer and producer, was elected president of the National Executive Committee in 2019. As of 2019, The Australian Writers Guild is supported financially by the Australian Film Commission , Screen Australia , Scripted Ink, Film Finance Corporation Australia , Screenwest , Screen NSW , Screenrights, Media Super, and
750-467: Is eligible for any student enrolled in a part or full-time course in performance writing. The benefits of this membership are intended to aid in the development of the student's study. The package includes access to agreements and industry rates, accesses to standard industry agreements, invitations to industry and committee events, professional resource access, AWG script registration and assessment services among other elements. Each membership can lead into
825-669: Is exemplified through AWG's work as a political voice through lobbying the Australian Government on issues such as funding and copyright protection in order to protect Australian content. The AWG is a member of the Australian Council of Trade Unions . The AWG is a democratically run association, run by the members of the guild. Each year, the members elect the National Executive Council alongside Branch Committees that represent each Australian state. Membership
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#1733084702492900-568: Is later appointed as the first executive officer, in this role she was in close discussion with the AFC. As the 1990s came in turn, the AWG had grown to have approximately 850 members and a similar amount of associates. With offices in Sydney and Melbourne and chapters in every other state, the guild had established itself as a powerful force within the performative writing world, standing firmly for workers writers in
975-627: Is the professional association for Australian performance writers for film, television, radio, theatre, video, and new media . The AWG was established in 1962, and has conferred the AWGIE Awards since 1968, the Monte Miller Awards since 1972, and the John Hinde Award since 2008. The Australian Writers' Guild has been representing Australian screenwriters, playwrights, radio writers, comedy writers and digital media writers since 1962. It
1050-595: The Australian Film Commission Amendment Act . The AFC introduced a "Directions" plan to guide operations of ScreenSound Australia, before it was disputed and revised in 2006 upon the change of government. The merger between ScreenSound and the AFC was reversed in 2008, with the introduction of the Screen Australia Bill 2008. The AFC had offices in Sydney , Melbourne , Canberra and Brisbane . The Screen Australia Bill 2008 marked
1125-755: The BBC and American PBS as they were unable to sell to Australian television networks. Notably, the Documentary Fellowship scheme the AFC developed in 1984 helped place Australian documentaries into timeslots for Australian television networks, as detailed in the Australian Content Inquiry Discussion Paper, 1987. Due to the lower valuation of the Australian dollar to the American dollar, American majors became interested in Australian films in
1200-583: The Gorton government . In the first year of its existence, its budget was $ 6.5 million. The AFC acted as a funding and development agency for the Australian film industry . With the Australian Film Commission Amendment Acts passed in 1980 and 2003, the AFC shifted focus onto funding and promoting Australian film both locally, and in international markets . The AFC was funded in part by
1275-456: The Howard government which was speculated by news outlets as a move to undermine cultural industries in Australia. A campaign called "Save ScreenSound Australia" was initiated. The Australian Film Commission Amendment Act 2003 outlined the transfer of contractual rights and obligations under ScreenSound to the AFC to accommodate the reorganisation. This took effect on 1 July 2003. In December 2003,
1350-698: The South Australian Film Corporation . The AWG also receives assistance from the Literature Fund of the Australia Council . The Guild was founded in March 1962 when a group of 17 radio writers met at the Australia Hotel in Sydney and decided to form a guild to represent their professional interests. It was originally called The Australian Radio, Television and Screenwriters' Guild. Founded on
1425-552: The A$ 60 originally being received. The strike lasted six months, from November 1980 to March 1981. Throughout the 1980s, Australian performance industries were suffering from funding cuts. Tax concessions were the major focus of the Guild. Wilson sought for further government funding to help greater support the local film and television industries, offering that five out of the seven production projects taking place in Australia should be Australian written. Wilson signed off on this notion with
1500-574: The ABC's treatment of its creators. The ABC eventually found an agreement to the Guild's terms of worker equity and signed off on the standard contract by the early 70s. Lance Peters was the Guild's president at the turn of the decade. He initiated a library of professional scripts available for guild members. His leadership brought in the inclusion of legal advisors to assist with safeguard copywriter and contract negotiation. Victorian Guild members began lobbying for further autonomy in their own ran programs through
1575-483: The AFC directed investment into the program for the development of broadband content worth approximately $ 2.1 million. The Commission acted as a financial aid for cultural content in Australian broadband services and for the Productivity Commission whose concerns were on "developing Australian culture, children’s programming, or quality of information and entertainment." The transfer of contractual rights of
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#17330847024921650-402: The AFC, totalling approximately $ 4 million to promote the production of innovative, educational and technological media content and projects. By July 2008, the AFC published a new online film related database which allowed anyone access through a film "producer or director’s name, film title, subject matter, location filmed, production date and key education references." The database, after
1725-619: The ASA, and the Copyright Council". Later 1973 saw the guild join the Film Action Committee in order to raise media attention against visiting Jack Valenti in the US due to his ideology towards copyright. Through to 1979, the Guild was heavily influential in the fight for performance workers rights. Australian production houses were delaying their signing of an Industry-Wide agreement to produce
1800-503: The AWG acts as the national voice of performance writers, seeking federal and state support to recognise performance writing within the Australian culture of storytelling. 2020 saw the impact of the COVID-19 pandemic in Australia within the AWG. The Guild worked in conjunction with Screen Australia to monitor the screen industries response to the unprecedented upheaval of the times. According to MediaWeek , one million Australian dollars
1875-406: The AWG for excellence in screen, television, stage, and radio writing. There is a large number of categories, as well as some special awards and industry fellowships. The awards are given specifically for the writing of the scripts and not the finished product. The Major AWGIE Award is awarded to the outstanding script of that year across all categories. As of 2024 (56th Annual AWGIE Awards),
1950-517: The AWG's involvement in "political and industrial issues such as moral rights and copyright protection, censorship, taxation and broadcasting legislation". 1972, the tenth anniversary of the AWG's founding and Peters utilized this milestone to broaden the Guilds affiliations with "the Australian film commission, the Playwrights' Conference, the "Make it Australian" Committee, the Children's Film Council,
2025-581: The AWG. This threatened the Guilds status as a Trade Union in NSW, so the association was split into fully operative state branches as determined at the annual Federal Conference involving all members. Peters thus began to lobby against networks threatening the workers' rights of many performance writers. Emerging from this came the "Make it Australian" campaign, in which other writing industry guilds united in support of keeping performative media in Australia amongst Australian creators. Peters's involvement here truly marked
2100-901: The Archive. The Committee had no directive powers in relation to the AFC Board and film events originally under the NFSA brand, such as the premier of ‘The Sentimental Bloke’ at the Sydney Film Festival 2004, were redirected under the Australian Film Commission’s brand. On 12 January 2006, Kim Dalton departed from his CEO position at the Commission to the head of television at the Australian Broadcasting Corporation. The shift introduced new operations and communications between
2175-654: The Australian Federal Government, the Australian Film Commission began to send Australian films and filmmakers to Cannes , France . Cannes is renowned for hosting annual international film festivals as of 1946. In 1978, the Commission’s marketing efforts in Cannes were criticised by David Stratton , a film critic and consultant, for the slogan "Our Product’s Got Great Legs" captioned under a photo of
2250-621: The Australian Film Commission were carried over by the Bill, outlining Screen Australia’s duties to financially invest in "film and television development, production and distribution activities." Screen Australia also took over the Commission’s role in supporting Australian content in films, focusing on programs with high levels of artistic and cultural qualities. Other functions included providing aid to Australian filmmakers, promoting Australian films both domestically and internationally at related film festivals, trade shows and industry markets, and supporting
2325-481: The Australian Film Commission, were encouraged to increase overseas sales due to the tax shelter provided by a budget increase. Changes to the AFC Amendment Bill 1980 allowed the Commission for more flexibility in funding films under the rational program and Film Australia. Funds regarding the promotion, distribution, or broadcasting of Australian programs, were also accommodated by the Bill. The Commission
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2400-472: The Australian Writers Guild is reliant on the membership structure of the association. There are a variety of tears of membership, and the accompanying fee paid by each member enables the Guild to create opportunities for its affiliates. The levels of membership are put in place to help differentiate the capabilities of each member within their field. Full membership entails that the affiliate has
2475-476: The Australian industry, essentially jump-starting networking opportunities and careers. Founded in 2010, the Pathways showcase has enabled Australian writers to gain exposure. Over 30 Australian projects have been funded by Scripted Ink. for further script development and even production. Scripts by guild members are showcased on the website. This is essentially free exposure for writers. Pathways Prime consists of
2550-573: The Balloon Go , was released in 1976. The Commission generally covered Australian national and Indigenous identity through film and documentaries, and had developed the Documentary Development Fellowship scheme in 1984. For 1979 to 1980, the Commission's budget was $ 10 million, and received $ 2.5 million from its investments. In 1998–99, Film Finance Corporation Australia was set up as a government-owned corporation and took over
2625-581: The Commission revealed its Directions plan, introducing its proposals on the future of the NFSA. The merger introduced the National Film and Sound Archive Advisory Committee in late 2004 which succeeded the NFSA Advisory Council. The Committee included representatives of key stakeholders for the Archive and was established under the Directions plan to allow for communication between stakeholders and
2700-571: The NFSA Advisory Committee and the AFC Board which acknowledged concerns on the overriding control of the AFC over the Archive. The Directions plan had received approximately 120 submissions from stakeholders with 90% being critical of its plans. The renegotiation amended concerns over the Archive’s branding and introduced a new plan on 10 July 2006, called the Independent statutory status for
2775-505: The NFSA. In 2008, the AFC was then merged with two other film agencies, Film Finance Australia, and Film Australia Ltd, to form the current film agency of Australia, Screen Australia. The merge with the NFSA was reversed upon the passing of the Screen Australia Bill 2008. The Commission distributed and broadcast Australian film worldwide, namely in the United States and Europe. Australian independent documentary producers sold their work to
2850-576: The National Film and Sound Archive. The NFSA Advisory Committee was in operation until May 2008. In May 2007, plans for another amalgamation was prompted by the new Minister for the Arts, George Brandis . The Australian Federal Election in November 2007 saw a changeover of government to the Labor Party , but support legislation for the merge was approved on 23 March 2008. On 20 February 2008, Peter Garrett ,
2925-643: The National Sound and Film Archive to the Commission in 2003, allowed the AFC to use the Archive's brand under its name. From 2004 the AFC and from 2008 Screen Australia's Indigenous units helped to fund the Message Sticks Indigenous Film Festival . In 2006, the Broadband Production Initiative (BPI) was introduced by the federal government. The scheme was funded with the assistance of ABC New Media, Digital services and
3000-519: The amalgamation in 2008, was expanded under Screen Australia and was called the Find a Film Search Database and later renamed The Screen Guide . The database also enabled users to locate "Australian-made feature films, documentaries, television dramas, and interactive resources" which were curated by Australians. In the 1970s, the government assisted the film industry indirectly through tax exemptions and write-offs to private investors. Film bodies, such as
3075-576: The audiovisual industry. The Commission covered Australian content, in which Australian national and Indigenous identity was preserved and represented through film. The AFC supported the production of Australian history as constructed by filmmakers through documentaries . In 2000 Sally Riley was appointed head of the Indigenous Branch, which later became the Indigenous Department of Screen Australia. In both roles, she did much to develop
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3150-516: The award categories are: The David Williamson Prize for Excellence in Writing for Australian Theatre, named after playwright David Williamson , was established in 2013. The annual prize is sponsored by David and Kristin Williamson, and Shane and Cathryn Brennan, and awarded "to the most outstanding script selected from the winners of each of the theatre categories at the AWGIE Awards". The purpose of
3225-555: The careers of Indigenous Australian creatives and other industry professionals. Whilst working closely with the NFSA, the Australian Film Commission financed the Archive's first major film reconstruction, of the 1927 film, For the Term of His Natural Life , in 1980. The Commission has also collaborated with the agencies Australia Council for the Arts and the Australian Film Television and Radio School (AFTRS) in support of
3300-399: The cease in its operations. The Commission merged with other federal Australian film agencies and groups while it was active between 1975 and 2008. In 2003, plans to reorganise the AFC emerged when ScreenSound Australia, otherwise known as the National Film and Sound Archive of Australia (NFSA), indicated new arrangements to board positions. The Commission was merged with ScreenSound under
3375-532: The combined servicer of the three agencies. The amalgamation revised interests on Australian programs such as documentaries, and Screen Australia took over the AFC’s role in commissioning the documentary sector. For example, the development and production of the National Interest Program documentaries, which were initially produced by Film Australia Ltd, resulted from the merger. The main functions of
3450-574: The creation of the new government film agency, Screen Australia , which merged the major government film bodies Film Finance Corporation Australia, Film Australia Limited, and the Australian Film Commission into a single body, albeit with slightly different functions, roles and financing methods. Screen Australia commenced operation in July 2008 and overtook the Commission's role supporting and investing in Australian film and other media. The Commission merged with Australia's federal film agencies in 2008, bringing
3525-478: The development of screen culture in Australia. The Australian Film Commission as well as the Film Finance Corporation (FFC) were responsible for sustaining Australian culture through film. The AFC was a leading analyst and collector of film data, and in particular, Australian audiovisual media aiming to preserve and foster the audiovisual production industry. It led opinion, outlook and policy regarding
3600-478: The entity itself and all reserved rights. Members stood against this cementing the Guilds power within the industry. The dispute was appropriately managed and the writer was appropriately paid. This became the Guild's first successful case in fighting for creators rights. In 1967 Guild established the AWGIE Awards, with the first event held in 1968. These were presented to performance writers who demonstrated exceptional work within their respective fields. Created by
3675-583: The event held at the Wentworth Hotel in Sydney on 22 March 1968, Also in attendance was Sir Robert Madgwick , chairman of the ABC . There were 250 guests in attendance, only 35 of whom were AWG members. The AWGIES awards ceremony has become a prominent industry event, and has featured many well-known guests of honour and speakers in the past, including: Manning Clark ; Ken Hall ; Fred Schepisi ; Tom Keneally ; Gough Whitlam ; Paul Keating ; and Roy and HG . It
3750-537: The film, television, radio and theatre industries across Australia. 1996 saw the guilds first real push for involvement in the Theatre industry in Australia. Negotiating the Theatre Industry Agreement, writers received minimum rates and commissioning rights for each piece crafted for the stage. This also involved that writers would share in box office receipts, 10% to each ticket sold, one of the highest rates in
3825-512: The fund is "to encourage theatre companies to commission, develop and program a new Australian work". From 2017, the value of the prize was increased to A$ 100,000 , with $ 20,000 awarded to the playwright, and $ 80,000 to the theatre company that commissioned and staged the prizewinning play, "when they commission and program a new work by an Australian playwright within the following 12 months". Winners include: As of 2023: Australian Writers%27 Guild The Australian Writers' Guild ( AWG )
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#17330847024923900-499: The guild partnered with The Sun-Herald and The Sydney Morning Herald to organize the What Matters? writing competition. In 2009, the guild quit Australian Screen Council (established in 2005 ) over a financial disagreement. For many years, the executive director of the organisation has been Jacqueline Woodman (now Jacqueline Elaine). In January 2019 Shane Brennan replaced Jan Sardi as president. The initiatives and
3975-473: The industry, notably Actors' Equity and the Musicians' Union. 1963 saw the AWG's first industrial dispute over an Australian network offering an unacceptable amount for a script written by Eleanor Witcombe . To quote Gillian Armstrong , a major Australian film director, 'Eleanor was not a self-promoter. She was proud and passionate and dedicated, and truly a great writer'. The Guild's deal encompassed both
4050-572: The industry-standard software among other elements. Associated Membership eligibility is available for non published writers. These are the emerging writers that are looking for opportunity and networking in order to become a part of the writing community. This package includes stand access to agreements of co-writing and employment contracts, eligibility in writing competitions, access to industry events, professional resources, Pathways opportunities, AWG registration and assessment and discounted final draft software among other elements. Student membership
4125-399: The internet between traditional documentary filmmakers and interactive media producers. The AFC recorded that the annual average production value of documentaries in Australia was approximately $ 62 million between 2005 and 2006. Until 1996, documentaries in Australia were defined as an information category and were reintroduced with a renewed quota of 10 hours a year from initial release, which
4200-564: The late 1970s. Investment in Australian film was financially attractive to American backers, and the Australian Film Commission, as well as other state film authorities, began to sell Australian films in the American market. The American market received Australian film with depictions of outback landscapes, and historical settings as impressions of Australia. In 1978, AFC moved its North American office from its original location in New York City to Los Angeles . In 1975, with assistance from
4275-483: The major role of financing feature film and television production, with the AFC concentrating on the funding of development, marketing and research work for the media. Film Australia Limited became a separate entity. On 1 July 2003, the Commission undertook the effect of the transfer of the National Film and Sound Archive 's (NFSA, also known as ScreenSound Australia) contractual rights and obligations as enforced by
4350-505: The members, these awards aim to recognise and reward excellence in an extensive list of categories. By 1968, the Guild was in negotiations with the ABC tackling performative writers rights once again. At this time, fees for scripts were at an extraordinary low. As a result of this, the AWG united with the Council of the Society of Authors and Actors' Equity in an attempt to resolve tensions between
4425-399: The national government and in part from its return on investments in film production as well as interest on film development loans. It financially assisted film and television production and also produced films generally intended for government purposes, through its production arm, Film Australia , previously known as the Commonwealth Film Unit. A Film Australia feature film for children, Let
4500-442: The new Minister for Arts from the changeover, introduced the Screen Australia Bill 2008, which allowed the NFSA to move freely under its body as it was de-merged from the Commission. On 1 July 2008, the Australian Film Commission merged with the Film Finance Corporation and Film Australia Limited to form Screen Australia. As the main film agency financially supporting the Australian screen production industry, Screen Australia acts as
4575-494: The notions of misrepresentation within Australian society, exceptional underfunding and poor professional treatment, the AWG aimed to aid in these areas. The early 60s also saw an influx of imported media from predominantly the United States and England to Australian Television. This left minimal room for the local market and severely impacted the state of the Australian Media industry. A pivotal moment in societal advancement in switching from predominantly focused radio entertainment to
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#17330847024924650-428: The past, they have been awarded as part of the AWGIE Awards, but in recent years have been announced at a separate event. Two awards are given annually, both for un-produced scripts, in the categories Long Form (over 30 minutes) and Short Form (under 30 minutes), across all genres and formats. The award-winners are announced at a dedicated industry event in Melbourne in May; entries open in March. The function of
4725-462: The production of films in Australia. The AFDC, turned AFC, invested $ 3,289,752 in feature production between 1972 and 1975. The Commission supported the Australian independent documentary sector. In 1984, the AFC initiated the Documentary Fellowship scheme with an Australian Broadcasting Corporation (ABC) supported pre-sale to mobilise independent documentaries. In 1999, the Commission's Documentary Online Initiative would progress collaborations over
4800-515: The rising use of internet and technological innovation in the late 1990s and early 2000s. From the mid-1950s, with the rise of television, until the 1980s, documentary production of Australian life was supported by federal agencies such as the Commission. The AFC continued to support Australian documentaries until 2008, when Screen Australia was formed. Screen Australia overtook the Commission's responsibilities in supporting films and television programs with Australian content, which were determined by
4875-402: The services of the AWG service the individual members of the Guild while aiming to enhance the Australian performative writing industry as a whole. Applying the mission statement, seeing, "Performance writing and performance writers thrive as a dynamic and integral part of Australian storytelling; shaping, reflecting and enhancing Australia's cultural voice in all its diversity". In many instances,
4950-452: The subject matter, location of production, nationalities of contributors to the making of the film, and potential to be significant Australian content, as outlined in the Screen Australia 2008 Bill. The Commission functioned as a producer, promoter, and distributor of Australian film. In the early 1970s, the Australian Film Development Corporation in conjunction with the Australian Film Commission administered grants and loans which sustained
5025-583: The support of other unions to increase the appeal of local creators strengthening the local industry. Approaching the end of the 1980s, the Australian Film Committee was in close contact with the Guild, strengthening the claims and actions taken by its members. United, the unions continued to campaign against low residual fees in performative writing contracts. 1988 saw the appointment of New Guild president Geoffrey Atherden , A Sydney University graduate infamous in his comedic screenwriting (particularly for his co-writing credits in The Aunty Jack Show ). Angela Wales
5100-432: The television, the founders of the guild were determined to ensure Australia was not left behind. The first interim committee comprised Don Houghton, Richard Lane , Ric Aspinall, Kay Keaveney and Lyle Martin. Nearing the end of 1962, the Australian Writers Guild was officially registered as a Trade Union in New South Wales. This was seen as important because it provided recognition and support from other trade unions within
5175-401: The works of some of Australia's most successful screenwriters inclusive of Keith Thompson's The Sapphires , Sam Caroll's H 2 O: Just Add Water and McLeod's Daughters , and Sarah Smith's The Killing Field , among many other successful writers. Australian Film Commission The Australian Film Commission ( AFC ) was an Australian government agency was founded in 1975 with
5250-454: The world. Late 1990s, between 1997 and 1999, AWG lobbied to ensure legislation encompassing moral rights and copyright rights for Australian creators. The Copyright Amendment (Moral Rights) Act 2000 was passed in December 2000. This protected Australian writers intellectual property and furthered the ramifications for breaking authorship integrity and workplace morality. The guild was heavily involved in this essential legislation. In 2004,
5325-451: Was created for writers by writers, with the council consisting of members within their respective performative industries. It aims to promote the Australian cultural voice within the arts. The guild recognises through their mission statement that performance writing and performance writers "thrive as a dynamic and integral part of Australian storytelling, shaping, reflecting and enhancing the Australian cultural voice in all its diversity." This
5400-432: Was delegated to overcome costs which had little return on both government and private investments. Under the Bill, the Commission was able to appoint its own staff. Members of the AFC were appointed on part-time basis, and to ensure flexible and efficient day-to-day operation a general manager was elected. Upon the passing of the Australian Film Commission Amendment Act 2003 , the Commission became legally responsible for
5475-458: Was donated by Netflix to support the launch of the COVID-19 Film and TV Emergency Relief Fund in order to best support production shutdowns in Australia. AWG was as of June 2020 enabling the distribution of these funds to the hardest-hit workers. Since 1968, the AWG has conferred the AWGIE Awards for excellence in screen, television, stage and radio writing. The AWGIE Awards include awards in
5550-648: Was held in Melbourne for some years, The 56th Annual AWGIE Awards event is being held on 15 February 2024 at the National Institute of Dramatic Arts in Sydney. In most categories, the awards are given for works for which principal photography, production, or recording was completed in the 2022 calendar year. Stage productions must have had their first professional production in this year, while interactive media or gaming must have been commercially released in this year. The awards are given annually at an awards event by
5625-491: Was later increased to 20 hours in 2008. The AFC collaborated with ABC Online , and the radio station Triple J , to create the Stuff-Art website. Stuff-Art was devised to foster innovative and online film entertainment, encouraging participation from artists, filmmakers and interactive producers. In 1999, it won Telstra / Australian Financial Review Internet Award for the best entertainment website. In September 2001,
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